1. 要寫一篇電影研究方面的論文，誰能給個網址或什麼建議嗎謝謝
《英美電影》
[摘要]本文分析了英美電影在英文教學中的優勢和特點，並闡明了英美電影在大學英文教學中的作用。作為英文語言文化的有效導入途徑，它們在英文課堂中的運用，豐富了教學內容，激發了學習興趣，提高了整體教學質量。
[關鍵詞]英美電影 英文教學 導入
一、引言
「語言必須在情景中呈現和練習」——這是英國語言學家Palmer等提出的情景教學法的主體特徵。它強調在英文學習中，必須通過真實的交際情景調動學生的學習積極性，即語言使用不能離開一定的社會情景。因此，用英文電影輔助英文教學，不僅保證了語言材料和語言環境的真實性，而且還生動地把文化知識、社交技巧、商業策略等展示出來，促使學生在跨文化的意識中培養語感，提高英文聽說能力，拓展自己的交際視野。
二、英文影視教學的可行性與優越性
電影通常被稱作「第七種藝術」，兼容著其他藝術的知識含量和文化彈性。它在視覺和聽覺背景下所傳遞的文化信息不容忽視。研究顯示，在以英文為第二語言的教學過程中，影視教學正成為一種主要的教學輔助手段。
Herron，Hanley和Cole(1995)的研究發現：帶有描述性畫面的電影對提高學生的語言聽力有極大幫助。在同等聽力材料下，那些在課堂上觀看電影的學生，比以聲音為媒介來提高聽力的學生理解力更好，尤其是當電影中的對白配以誇張的動作，或者電影與相關的圖片和背景性文字結合運用的時候。這表明電影蘊含的視覺信息越豐富，學生聽覺能力就越高。而且，由於影視語言的外延性與內涵性處於一種常在的關系之中，它的所指和能指信息就為言語活動對象提供了一定的場景與語境，增強了感性認識。
影視教學為學生創造了一個能擺脫母語羈絆，調動學習者眼、耳、口、大腦甚至整個身心做出反應的立體式學習語境。影片中的信息通過視覺、聽覺、話語動覺的一連串運作，傳輸給大腦中樞，建立起信號聯系，在此基礎上提高了語言能力。那些在觀賞中定格在記憶里的電影對白，一旦和現實生活中的某一生活場景相吻合，就會誘發大腦迅速做出反應和加速記憶，形成語言深化後的語感。
由此可見以電影作為英文教學輔助手段的可行性和優越性。
三、英文影視教學中交互作用的發揮
英美電影課不是教師放映、學生觀看的單向學習過程，而是教師、學生、活動、設備相互作用，構成網路狀的交互教學過程。針對不同的教學目的和教學對象選取適當和系統的視聽材料後，教師應當充分發揮這種交互作用，豐富教學活動，激發學生的積極性。
1．教師與設備的交互
英美課上教師面對兩個對象，一是學生，一是設備。教師與設備構成操作與被操作關系，合理的操作設計取決於充分的備課工作。教師針對教材認真備課並熟悉設備，從而保證課堂上教材播放與師生討論穿插銜接合理，播放時段劃分控製得當，操作熟練。教師在向學生提供自然習得語言知識的過程中，應利用現代化技術和設備將生詞、難點、背景介紹和練習題做成幻燈片或機上操作文件，並將其合理編插到教學程序中，以便利教師講解和學生理解。
2．教師與學生的交互
教學是在教師引導下學生學習的過程。完成教學任務的關鍵是正確發揮教師和學生的作用，處理好相互關系。在英文電影課上由於一些心理因素，如對所學語言有畏難心理、缺乏自信，再加上學習時需要多感官共同運作，學生常處於緊張的學習狀態。克拉申在其情感過渡假說中認為這些不良因素會產生屏蔽效應，阻擋信息的輸入，影響正確理解和對知識的掌握。因此在教學中，教師平等、和藹、親切的態度，教師的鼓勵和引導會增強學生的自信心從而促其形成積極的學習態度。在影片播放前，教師應進行內容簡介，引導學生關注焦點，調動參與積極性，並將人物形象和背景知識介紹給學生，要求學生猜測或描述角色的職業、個性、相互間的關系等。播放中穿插相應指導、答疑。觀畢以問答形式了解學生的理解程度，與學生共同討論重點內容。
3．學生與教材的交互
英美電影課上學生與教材是輸入與被輸入的關系，根據輸入假說，語言學習首先要保證輸入是可理解性輸入才能產生效果，輸入不能過難，也不能過易，要稍高於學習者目前的語言水平，讓其通過自己的努力取得進步。在視聽中，學生進入了一個真實的英文交際環境，要積極聆聽，並努力理解說話人的感受，感知和接受不同文化風俗與角色共鳴。對一些經典的、簡練的對白還需仔細研讀，模仿地道的音調，學習正確的語用表達。
4．學生與學生的交互
英美電影課豐富多彩的內容輸入必然會引起接收者豐富的聯想和感受。教師要適時激發學生參與的慾望，積極引導他們表達出對片中人物、內容、情節、寓意的感受，與學生共同探討片中語詞句運用精彩之處和西方文化在語言交際中的體現。教師還可組織學生就播放的某些內容，交流彼此的看法、感受，以訓練學生表達流暢、用詞准確、靈活應變等能力。
四、英美電影在大學英文教學中的運用
下文以《阿甘正傳》為例，探討英文原聲電影在提高學生聽、說、讀、寫四項基本技能方面的效果。
1．最大限度提高學習興趣
影片創造了輕松的英文學習氛圍，活躍了課堂氣氛，增加了學習趣味性，從而使學生收到了良好的學習效果。研究表明第二語言的學習效果和情感因素密切相關，因此要在最大限度上減少影響語言學習效果的消極態度，而電影恰恰給學習者提供了一個輕松的氛圍。片中男主人公的生活有一段就在大學校園里度過，與學生的生活非常貼近，因此他們很感興趣，加上該片的語言純正、發音標准，學生不由自主產生了學習動力，進入了最佳學習狀態，個個聚精會神。
2．全方位促進語言輸入
影片有益於學生聽力能力的提高，促進地道的、口語化的英文的輸入。放映前教師可講解一下影片中的語言難點和要點。放映時，學生會著重注意這些語言點，加深對它們的理解和應用。這部影片中有很多典型的英文口語範例，如：Lifewas like a box ofchocolates．You never know what you』regoingtoget．生活就像不知道下一塊會吃到什麼味的巧克力一樣，只能順其自然。We'regonnagetyou!我們會抓住你的。I can run likethewind blows．我可以跑得象風一樣快。這些句子很簡單，但都是生活中典型的口語，學生通過大量的聽力訓練，不僅加深了聽力理解，而且促進了真實、鮮活的語言的導入，有助於他們適應真實的語言環境。
3．有效導入英文國家文化
影片有助於學生對美國文化的深入了解。電影是一面鏡子，是一個國家和民族的社會生活和文化的最直觀、最生動的反映。它涉及了社會生活的方方面面，反映了一些突出的社會問題。通過觀看這部影片，學生加深了對美國文化的認識。例如阿甘在描述珍妮父親時用到了Kissin，and touchin，herand her sisters．似乎他是個慈愛的好父親，可後來珍妮卻離開了他。這里很多同學看的有些迷惑，其實阿甘那時作為一個孩子，也只能理解到這一步。這里實際暗指珍妮父親對她們姐妹的性虐待。大家可以從她父親的酒瓶、她破爛的衣服看出珍妮所受的非人的對待。所以她才想變成一隻鳥飛走。童年的陰影直接決定了珍妮在以後人生中安全感的缺乏以及對生命的不負責任。深愛她的阿甘多次受到她言語的傷害，她只是把阿甘當做一個傻子，竟然在阿甘表達對她的愛時指責阿甘不懂什麼是愛。經過多年的挫折後，阿甘無數次的包容和幫助才讓她看清誰是可以永遠依靠的人。影片中後來珍妮拿石塊猛砸她父親的老房子的鏡頭使觀眾充分體會到苦命的童年給她帶來的傷害之深。而這也是美國乃至整個人類的悲哀。
欣賞完影片後，師生可一起剖析一下這些社會問題的現狀和起源。教師可以從兒童虐待的概念入手，通過數據陳述該現象在美國存在的廣泛性，進而透視其存在的個人、社會及文化根源，最後延展到兒童虐待給孩子造成的身體和精神傷害。這些深入分析可以讓學生更直觀地了解美國。這種教學效果是傳統課堂教學所難以達到的。
4．趁勢強化語言輸出
影片放映後寫影評可以有效提高寫作能力。觀看完此片後，教師可布置學生寫觀後感。學生的寫作熱情會非常高，從不同視角度抒發自己的感受。比如有的同學由衷欽佩阿甘的美德：誠實、守信、認真、勇敢和珍視感情，而有些同學針對珍妮和阿甘的愛情展開討論。
五、結語
綜上所述，影視教學是英文課堂教學多元化的有效嘗試。它不僅在極大程度上調動了學生的積極性，增強了聽力理解，而且還促使學生去充分了解英文世界裡的風俗民情和人生百態，提高了學生的藝術欣賞水平，起到了寓教於樂的課堂教學效果。但教師必須意識到，學習英文並不能僅僅依賴於電影本身所傳遞的信息，還要藉助於學生主體的動機和興趣，把語言的輸入、輸出活動有機結合起來，全面發展學生的語言技能和交際技能。教學實踐證明，通過英美優秀影片導入英文語言和文化是一種行之有效的方法，應對之進行不斷的探索和學習。
2. 名著讀後感，或英語電影影評，1000字以上,要英文的，三篇……謝謝
你不給我加分，怎麼對得起我！！！！！！！！！！！！！
英文影評:千與千尋(Spirited Away)
Animated feature from Japanese master Hayao Miyazaki. A young girl finds herself trapped in a mystical realm, where she must find a way to save her parents - who have been turned into pigs
There's something almost criminal about the way Spirited Away took over two years to reach Britain after its original Japanese release. In Japan, Hayao Miyazaki is both commercially successful (his films regularly beat box office records) and highly respected (Akira Kurosawa said: "I am somewhat disturbed when critics lump our works together. One cannot mimimise the importance of Miyazaki's work by comparing it to mine."). In Britain, however, his work has barely got more than a few cursory arts venue screenings. At least Spirited Away - which took the Berlin Golden Bear in 2002 and the Best Animated Film Oscar in 2003 - made it. Better late than never.
After the stress of making his last film, 1997's Princess Mononoke, Miyazaki had a breakdown and retired. But he came out of retirement when an idea to create another, lighter film began to take shape. Princess Mononoke was an action-packed epic that ranged across 15th century Japan. For Spirited Away he returned to the quieter - but no less serious - themes that he addressed to a degree in 1988's My Neighbor Tortoro. Both films feature a family moving house, girls getting used to upheaval, and elements of 'Alice In Wonderland'. But where the 1988 film used a few specific motifs from Carroll's book (a plunge into a 'rabbit hole', a version of the Cheshire cat), Spirited Away casts its 10-year-old protagonist, Chihiro (Hîragi; or Chase in the US b), fully into a Wonderland, a mystical otherworld populated by animal spirits and gods. Chihiro arrives in this realm by accident. Her parents, heading for their new home, take a road that leads into the woods. Arriving at a dead end, they walk down a corridor through a building and emerge in what dad takes to be "an abandoned theme park". It's something like a Japanese Portmeirion, but eerily deserted. While her parents greedily help themselves to food, Chihiro wanders off and meets Haku (Irino; or Marsden), a boy who warns her to leave before dark. She's too late though - a lake has appeared, blocking her route, ghostly forms have populated the town and her parents have turned into pigs. She's trapped.
The only way to survive, Haku tells her, is to get work in the bath house that dominates the town. Here "eight million gods rest their weary bones", according to Yubaba (Natsuki; or Pleshette), the witch who runs the establishment. Chihiro makes her way to meet Yubaba with the help of Kamajii (Sugawara; Ogden Stiers), a multi-limbed codger who runs the boiler house, Lin (Tamai; Egan), a serving woman with a taste for "roasted newt", and even a 'Radish God', a giant sumo of a chap with tuber-like appendages. Yubaba is hardly forthcoming - her realm is "no place for humans" - but she's forced to give Chihiro work, thanks to an oath she swore. Chihiro gets work helping Lin. But the management give them the worst jobs - such as assisting a hideous oozing creature they take to be a "Stink God; an extra large stinker at that". It's an entity so foul its smell makes food rot instantaneously, while its suppurations fill the room with a noxious gloop.
Chihiro - or Sen as she becomes when Yubaba takes her name as part of her contract - does get by in the bath house, but it's not without further incident. She may lose her identity, but she retains her decency. One act of kindness results in a dangerous spirit, No Face, getting into the bath house and wreaking havoc by playing on the greed of the other employees ("Gold springs from his palms!"). She even gets involved in an adventure that reveals her mysterious bond with Haku. But can she save her parents? It's often said that Katsuhiro Otomo's Akira (1988) is the greatest anime ever. That's as maybe, but every one of Miyazaki's films is a masterpiece, so it's hard to pick just one that stands out. It's also tricky to compare his works with the more traditionally received notion of anime (giant robots, demons with phallic tentacles, telekinetic fighting, atom bomb-style explosions etc).
Although Miyazaki insists it's not his role to be didactic, all of his work (notably his second feature Nausicaa Of The Valley Of The Wind and Princess Mononoke) has strong messages about ecology and the human relationship with the natural world. But he's also fascinated with coming-of-age stories, notably about how girls (many of his protagonists are young females) can not only face up to alt responsibility, but also how they can become strong, principled members of society. Here Chihiro is forced to grow up fast, but the process, while gruelling, is not without real benefits, as her understanding of the way society functions and experience of alt emotions develops exponentially.
Some aspects of the film are likely to be too foreign for Westerners - we're ignorant of Japanese belief systems, with their hierarchies of entities - but Miyazaki's work has the power to transcend such culturally specific elements. While many of his earlier films drew on European stories (such as 1986's Castle In The Sky, from Swift), the folkloric features he reworks are often universal. But most of all, his team's animation - here utilising more digital techniques, while still being grounded in 2D traditions - is always beautiful and, in places, breathtaking. Locations are atmospheric, details are immaculate (you can identify the flower species in the gardens) and characters are diverse. Yubaba, for example, is a bizarre creation, a stocky woman with a huge head and even bigger hairdo; the bath house itself is stocked with all sorts of weird and wonderful creatures, from a Kermit-like assistant, to creatures reminiscent of his cuddly woodland deity from My Neighbor Tortoro, to troll-like beasts that look related to Maurice Sendak's 'Wild Things'). The only factor that could be seen as mildly misjudged is Jô Hisaishi's score, which is overbearing in places.
It's no wonder the likes of Pixar's John Lasseter (who executive proced the US b) are so full of praise for Miyazaki. He's a true genius, an artist and great filmmaker who happens to work in animation - a medium often belittled as childish in the West. Spirited Away is wonderful.
蜜蜂總動員 Bee Movie review by Roger Ebert
From each according to his ability, to each according to his need.
-- Karl Marx
Applied with strict rigor, that's how bee society works in Jerry Seinfeld's "Bee Movie" and apparently in real life. Doesn't seem like much fun. You are born, grow a little, attend school for three days, and then go to work for the rest of your life. "Are you going to work us to death?" a young bee asks ring a briefing. "We certainly hope so!" says the smiling lecturer, to appreciative chuckles all around.
One bee, however, is not so thrilled with the system. His name is Barry B. Benson, and he is voiced by Seinfeld as a rebel who wants to experience the world before settling down to a lifetime job as, for example, a Crud Remover. He sneaks into a formation of ace pollinators, flies out of the hive, has a dizzying flight through Central Park, and ends up (never mind how) making a friend of a human named Vanessa (voice of Renee Zellweger). Then their relationship blossoms into something more, although not very much more, given the physical differences. Compared to them, a Chihuahua and a Great Dane would have it easy.
This friendship is against all the rules. Bees are forbidden to speak to humans. And humans tend to swat bees (there's a good laugh when Barry explains how a friend was offed by a rolled-up of French Vogue). What Barry mostly discovers from human society is, gasp!, that humans rob the bees of all their honey and eat it. He and Adam, his best pal (Matthew Broderick), even visit a bee farm, which looks like forced labor of the worst sort. Their instant analysis of the human-bee economic relationship is pure Marxism, if only they knew it.
Barry and Adam end up bringing a lawsuit against the human race for its exploitation of all bees everywhere, and this court case (with a judge voiced by Oprah Winfrey) is enlivened by the rotund, syrupy voiced Layton T. Montgomery (John Goodman), attorney for the human race, who talks like a cross between Fred Thompson and Foghorn Leghorn. If the bees win their case, Montgomery jokes, he'd have to negotiate with silkworms for the stuff that holds up his britches.
All of this material, written by Seinfeld and writers associated with his television series, tries hard, but never really takes off. We learn at the outset of the movie that bees theoretically cannot fly. Unfortunately, in the movie, that applies only to the screenplay. It is really, really, really hard to care much about a platonic romantic relationship between Renee Zellweger and a bee, although if anyone could pull if off, she could.
Barry and Adam come across as earnest, articulate young bees who pursue logic into the realm of the bizarre, as sometimes happened on the "Seinfeld" show. Most of the humor is verbal, and tends toward the gently ironic rather than the hilarious. Chris Rock scores best, as a mosquito named Mooseblood, but his biggest laugh comes from a recycled lawyer joke.
In the tradition of many recent animated films, several famous people turn up playing themselves, including Sting (how did he earn that name?) and Ray Liotta, who is called as a witness because his brand of Ray Liotta Honey profiteers from the labors of bees.
Liotta's character and voice work are actually kind of inspired, leaving me to regret the absence of B.B. King, Burt's Bees, Johnny B. Goode, and the evil Canadian bee slavemaster Norman Jewison, who -- oh, I forgot, he exploits maple trees.
貧民富翁(Slumdog Millionaire)
An orphaned Mum slum kid tries to change his life by winning TV's 'Who Wants To Be A Millionaire?' in a feelgood fable from director Danny Boyle and the writer of The Full Monty, Simon Beaufoy
Jamal Malik ('Skins' star Dev Patel) is being beaten by Mum police for allegedly cheating on hit TV show 'Who Wants To Be A Millionaire?' One question away from the ultimate 20 million rupee prize, no one, including slick show host Prem (Anil Kapoor), believes a chai wallah (teaboy) like Jamal could know all the answers. As the tough inspector (Irfan Khan) replays Jamal's appearance on the show, it's revealed that each question corresponds to a specific life lesson from Jamal's tragic past.
Raised in abject poverty in Mum's grimmest slum along with older brother Salim, then orphaned by a Hin mob attack, Jamal and Salim are forced to fend for themselves on the streets through opportunistic petty crime. They pick up a young girl, fellow orphan Latika (Freida Pinto), escape the clutches of a vicious Fagin-like crime boss, lose Latika, and continue their picaresque adventures, one step ahead of the law. As adolescents, however, Salim becomes entranced by a life of crime and Latika's unexpected return sets brother against brother. Will Jamal salvage his girl, his fortune and his life on 'Millionaire'?
Adapted by Full Monty writer Simon Beaufoy from Vikas Swarup's hit novel 'Q&A', Slumdog is an underdog tale. Beaufoy's lively screenplay scampers after Swarup's self-consciously Dickensian storytelling tradition, and is even built around the 'Millionaire' show, as iconic a symbol of Western capitalist entertainment as exists.
Director Danny Boyle and cinematographer Anthony Dod Mantle have evidently immersed themselves in India's sensory overload. The film revels in the sub-continent's chaotic beauty and raging colours, from Mum shantytowns to Agra's regal Taj Mahal. The thrillingly off-the-cuff digital imagery reflects a nation in a state of explosive flux, looming skyscrapers erupting from wasteland, slum kids turning into overnight millionaires through the kiss of television. The film's uniquely vibrant, headlong 21st century rush is that of the infinite possibilities of modern India itself.
Slumdog's such a crowd-pleaser that some critics might brand it Boyle's best since Trainspotting . It even echoes a couple of that film's classic set pieces, notably a slum chase reminiscent of Renton and Co's opening Edinburgh dash and a lavatorial incident so stomach-churning (yet hilarious), it makes Trainspotting's infamous toilet scene seem like Ewan McGregor took an Evian bath.
In fact, the likable Boyle has been on great form for some time - 28 Days Later revamped the zombie movie, Millions is perhaps the best kids film of recent years. No other current British director makes such thrillingly current (all his films are set in either the present or future), kinetic, inherently visual films and proper recognition is long overe - though, true to form, he's insistent here on crediting co-director Loveleen Tandan, whose major contribution seems to have been unearthing the wonderfully naturalistic kids to play Jamal, Salim and Latika.
Verdict
A spirited underdog fable marinated in modern India's melting pot. Danny Boyle's still the master of spices.
3. 假定你是李華,你所喜歡的校英語選修課一英語電影欣賞向同學們徵集意見
樓上沒上過學吧.假如你是李華.一看就是寫英語作業啊
4. 一篇英語作文120字關於一個電影的影評
A review of "The Smurfs" It is sunny today. I am excited, It』s not because of the nice weather but 「The S murfs」, a 3D movie published by Sony Pictures Releasing (Argentina). The cont ent of the movie is very amusing and fu nny for children. The scene and color a re grandiose and magnificent. I think it' s a successful motivation. Time goes fas t! On the way home, the audiences are falling in love with those lovely smurfs. What a nice movie !
5. 評價《英語電影賞析》這門課程
本課程教學目的及主要要求：
通過對英文電影的分析與欣賞，讓學生能夠身入其境地了解電回影中各種人物的對話答，了解各國的風土人情、特有的文化背景、歷史與現狀、科學技術的發展、地理地貌等特點。 本課程藉助現代媒體手段，充分利用各種可能的途徑，獲得各種特點的素材和資料，在課堂上和學生一起分析其中所用語言和其使用的環境，
6. 英語作文:為你喜歡的電影寫一篇影評._為你喜歡的電影寫一篇影評.要求包括以下
My favourite movie
When I watched the film 《spider-man》,it give me a deep impressed. The main host peter who is handsome and brave. He helped so many people who is need others help.
If we were him,whether we can sacrificed our love and friendship and even our study . In our life,people afraid of helping others and get into trouble.
Although we can not use special abilities like peter ,we can also try our best to help people. For example ,if we see some thieves to stolen people's wallet,we can shout to make the thieves hurries
If we can contribute our love-heart,our society will become more and more warmth. People can make getting along well with each other。
譯文：
當我看完電影「蜘蛛俠」，它給我留下了深刻印象。主演彼得英俊又勇敢。他幫助許多需要幫助的人。
如果我們是他，我們是否可以獻出我們的愛和友誼，甚至我們的研究。在我們的生活中，人們害怕幫助別人，惹上麻煩。
雖然我們不能用像彼得一樣的特殊能力，我們也可以盡力幫助別人。例如，如果我們看到一些盜賊偷人的錢包，我們可以叫喊來讓小偷停下。
如果我們能夠貢獻我們的愛，我們的社會就會變得越來越溫暖。人們可以相處的很好。
7. 急求一篇關於英語電影欣賞結題報告
新的一學期又拉開了序幕，各項工作將會一如既往的進行。為了確保女生工作在新的學期做得更好，特製定計劃如下。一、指導思想。培養學生自理能力，使其養成良好的就寢、生活習慣，營造一個安定，舒心的學習環境，使學生全面健康的發展。二、情況分析。我校有女住讀生66人，學生來源於標湖、前灣、余咀、鍾家河、雷家四個村，通過上學期的要求、教育，大部分住讀生已養成了良好的就寢，生活習慣，被子、缽子、毛巾、盆子能做到一條線，就寢迅速，講究衛生，寢室干凈、整潔。夜晚大小便能入池，沒有亂撒亂拉現象。寢室長對工作比較負責，能及時匯報晚上就寢情況，三餐排隊有序，愛惜糧食。但也一些不足，少數學生晚上就寢時小聲說話，偷吃東西。還有個別學生不注意安全，晚上從床上摔下，造成門牙損傷。鑒於上述情況，本學期做好以下工作。三、任務目標。1、教育、培養學生物品擺放要做到整齊、美觀，養成良好的習慣。2、服從寢室長管理，按時就寢，起床。3、講究衛生，按時洗漱、掃地，晚上大小便要入池。4、注意安全。5、經常深入實際，了解情況，做好指導。6、就餐要做到按時、有序。四、方法措施。1、開學要做好學生思想教育工作，使其安心住讀，一如既往地搞好住宿工作。2、繼續教育，要求學生物品擺放要做到「四一」，即被子方塊一條線，毛巾一條線，缽子、筷子一條線，盆子一條線，使其美觀、整潔。3、按時就寢、起床。晚上下自習後在10分鍾內入寢，入寢後不能說話，不能偷吃東西，不能暗中做小動作，服從寢室長的管理，早晨按時迅速起床。4、教育學生講究衛生。天熱後每晚就寢要洗漱，晚上大小便要入池，不能在校園內亂拉亂撒，嚴禁把雜物放到床下或者墊被下。5、注意安全。大同學要關心、照顧小同學，上床、下床要小心，以免出現事故。6、三餐要做到按時、有序，就餐不能拖拉，不能插隊，服從炊事員的管理，剩飯不能亂倒。7、深入住讀生實際，了解情況，發現問題，及時指導整改。
8. 看一部英文電影 寫出簡介和觀後感 （英語作文）
Hogwarts School of Witchcraft and Wizardry is where Harry Potter and his friends learned about magic.
Main Characters:Harry Potter is an 11 year old boy who』 parents died, and he goes to Hogwarts. Ron Weasley is an 11 year old boy who has 5 brothers and 1 sister, and he goes to Hogwarts. Hermione is a 10 year old girl who likes learn a lots , and she goes to Hogwarts. Quirrell is Hogwarts』s teacher,Voldemort』s helper. Voldemort is an evil guy of the magic world. Climax:Harry never thought Quirrell was helping Voldemort. Quirrel cought Harry and let him to get the Philospher』s stone, but when Harry got it, he didn』t give it to Quirrell, and Voldemort came out,from the back of Quirrell』s head!And Voldemort orderd Quirrell to catch Harry and get the stone, but when Quirrell touched Harry, his body dissolved,and then he died. Conclusion:Harry defeated Voldemort, and the year has finished,it』s time for the school cup,Gryffindor was in last , but 4 more things let them win! First is for Ron, because he play the best game of chess Hogwarts has seen in many years,he got 50 points.Second is for Her mione,for the use of cool logic in the face fire,she got 50 points.Third is for Harry, who defeated Voldemort, get the stone, he got 60 points for that!Last, for Neville,he got 10 points for his moxie,and Gryffindor won!
9. 英文電影欣賞影評
The Pursuit of Happyness is a 2006 American biographical film directed by Gabriele Muccino about the on and off-homeless salesman-turned-stockbroker Chris Gardner. The screenplay by Steven Conrad is based on the best-selling memoir of the same name written by Chris Gardner with Quincy Troupe. The film was released on December 15, 2006 by Columbia Pictures.
Chris Gardner is a bright and talented, but marginally employed salesman. Struggling to make ends meet, Gardner finds himself and his five-year-old son evicted from their San Francisco apartment with nowhere to go. When Gardner lands an internship at a prestigious stock brokerage firm, he and his son enre many hardships, including living in shelters, in pursuit of his dream of a better life for the two of them.